^nnemamt^

Mmtal pargam
effects;
 WILL ALMA
M.I.M.C. (LONDON)
y
 The State Library of Victoria
"ALMA CONJURING COLLECTION"

A n nemann's M e n t a l Bargain E f f e c t s

ANNEMANN'S DIABOLO P E L L E T READING

F o r this fool proof pellet reading effect you need: a pad of
paper that will easily go into your coat pocket and not smaller than
1 by o inches; a pencil, two slips of p a p e r about 2 by 3 inches, a
c o m m o n letler size envelope and a t h u m b lip f o r right t h u m b . Have
a f e w matches on table, f o r convenience of sitter. Fold one of the
papers into a small size that will slip into t h u m b tip a n d place w h e r e
you can get same when ready. Fold other pellet the same w a y a n d
then unfold f o r the sitter. Lay this on table with envelope and
pencil. Have pad in right outside coat pocket, writing side of pad
against body.
Ask sitter to examine the envelope, which he does a n d places
hack on table. Tell h i m to write his question and sign on the small
slip and refold it tightly so nothing can he read. While he does
this you have stepped a w a y and secured t h u m b tip on right t h u m b ,
d u m m y pellet inside and UNDER the ball of the thumb. As sitter
is folding pellet, you return to table, and, picking up the envelope,
in left hand, flap side towards you, insert right t h u m b into it, appar-
ently to open same but really leaving the t h u m b tip inside and held
there, m o u t h up, by the left t h u m b and lingers on the outside of
envelope. At the s a m e time when you remove right t h u m b a f t e r
apparently opening envelope, as y o u r t h u m b conies out of lip, it
drags with it the d u m m y pellet and this drops into envelope. This
is all one continuous move as will be seen. Your right hand immedi-
ately comes out and picks up the folded pellet f r o m table, openly
places it in envelope, or can drop same in, but i( is really dropped
into the t h u m b lip and right t h u m b immediately follows it into the
tip. T h u m b is removed wearing tip willi pellet inside but stays
behind the envelope and now you are holding envelope at ends,
fingers in front and t h u m b s behind. You wet the flap and then as
an a f l e r l h o u g h l hand the envelope to sitter with a request f o r h i m
to seal it himself. Hand it lo him wilh right hand, lingers on lop
a n d t h u m b underneath, and as be takes it, y o u r hand conies away
with t h u m b hidden u n d e r hand.
T h e sitter will probably glance into envelope a n d he sees pellet
and seals. T h e wet flap will m a k e h i m seal envelope without m u c h
examining at this point. Ask h i m to light a m a t c h and to b u r n
envelope and pellet. Your right hand with tip goes into right pocket
between pad and body, and pushing off tip removes pellet and u n f o l d s
it. This is done during the half m i n u t e or so while all a r e watching
the message burn, and even if they watch you they sec nothing. N o w
pull pad out of pocket with pellet unfolded and open against it, and
picking up pencil you concentrate and jot something down on pad.
Read what you have written (which can be anything but the correct
answer) and ask if that applies to his question. He says "No." So
you tear off the top sheet, crumple and put in pocket and try again
and this time you write down the correct answer to his question. His
pellet is now crumpled up in sheet and in your pocket and as you
read his question while apparently writing the first time on pad, this
time you can write the correct answer and give him pad to examine
if he wishes as all evidence is now out of the way.
This is absolutely fool proof and indetectablc if you practice a
few limes before a mirror to make your moves smooth and regular
as they all blend together.

TIIE MODERN MINDREADER

(Hewitt)

We take pride in offering a REAL and PRACTICAL method

of presenting something that has been bandied around for years.
The answering of questions has become passe, and after the
first two or three it becomes quite boresome. This feat is to be pre-
sented purely as a TEST OF TELEPATHY.
Do not pass this over because it is on one sheet. SO IS A
THOUSAND DOLLAR BILL. Envelopes and cards are passed out.
\Ve use small pay envelopes size -I'/tx'i1/^. Blank cards are used of
a size to go into envelopes easily. W e advise your using only from
six to ten at a performance, and use this as A SPECIAL FEATURE
IN YOUR PROGRAM.
W e shall use for exam-
ple, ten e n v e l o p e s and
cards. One envelope is cut
on bottom as in Fig. 1. This
is placed at bottom of the
pile of envelopes on top of
which are the cards. Cards
arc passed out first, and, on
the way back, the envelopes
passed out np to the last.
The spectators have been
asked to w r i t e personal
perfect.
items, such as telephone
 ANNEMAXX'S MEXTAI. BARGAIN EFFECTS

numbers, license, numbers, stocks, names, etc. The first parly to gel
a card (and who gets last envelope) is now ready and you ask them
to keep card writing side down. You hold envelope in left hand near
bottom, lake their face down card and push it into envelope which
you seal. The card is shorter and cannot come out of the bottom.
Nothing wrong can be seen. As you openly do this, you are telling
the rest to do the same thing and it all appears as if you were just
explaining the process. Now, collect the others and put each under-
neath, or 11A YE AN UNKNOWN SPECTATOR COLLECT THE
OTHERS. The fake envelope is on lop with bottom edge towards
right and as you walk back to front your right forefinger and thumb
merely reach in, pull card out and lay on lop of the slack writing
towards you. You now face audience with slack in left band. With
right, lake an envelope from bottom of slack (side towards audience)
and hold to your forehead. As the envelope masks your eyes, you
can look down and read the card perfeelly as you apparently tell the
contents of envelope on head. II is a good idea to have Ihein sign
their cards so you can first call them by name and then give their
thought. Stating that you will see how close you have come, the
envelope is stuck under left thumb (on lop of packet nearest you)
a bit and right picks up pair of small scissors and clips oil' end of
envelope. The right thumb and forefinger enter and quickly with-
draw card, hold same with writing towards you and envelope is
grasped between the first and second lingers. The performer now
apparently reads what is 011 card but really reads what is 011 the card
011 the stack. As Ibis is done, the right hand approaches the slack a
little, the envelope going under the pile. At the same instant, the
right thumb and forefinger releases their card, and draw away the
actual first card instead, leaving the one just removed from Ihe envel-
ope 011 lop of the stack. The right hand comes away from slack and
THE ENVELOPE AND CARD IS RETURNED TO ITS OWNER.
This is one simple continuous move. From the view of the audience,
a sealed envelope has been held to Ihe head, contents read, the card
verified and handed directly back.

THERE IS NO METHOD IN EXISTENCE SO SIMPLY WORK-

ED AND YET SO APPARENTLY IMPROMP TU AND FREE FROM
THE USUAL SIGNS OF TRICKERY.
Taking the next bottom envelope, the process is repealed and
this is continued until at the last one, you have Ihe original slit envel-
ope with a card 011 back. You hold these to forehead, read, and
THEN CLIP OFF END JUST AS IE ENVELOPE W E R E SEALED,
BECAUSE ITS PREPAREDNESS CANNOT RE SEEN. The first
and second fingers go into envelope and the thumb 011 back. The
card is pulled out and the illusion is perfect. THESE ARE HANDED
BACK AND YOU ARE THROUGH WITH NOTHING TO GET
AWAY WITH OR HIDE.
Previous methods required a planted question, they could not
be returned as read, and you needed an extra d u m m y blank question
for the last one. Each one of these faults has been eliminated entirely.

ANNEMANN'S PSYCHIC WRITING

Use two blank business cards. Beforehand, on the upper left
corner of one card, write the figure 1, and then diagonally across
card write the name or message desired. Place the two cards together
with the writing on the underside of top card and the numbered end
nearest your body. With spectator in front of you, you are ready.
Mention the two cards in hand, carelessly showing top and bot-
tom of the two together and spreading them apart so top of lower
card is seen. Ask party to hold out his hand, and very deliberately
deal them onto his hand singly and remark that only two are used
and not three as some think. Pick them off hand and lay on your
open left hand and writing is now on the bottom card against your
hand with numbered end nearest your body. Staling that you will
number each side, take pencil in right hand and openly mark a figure
1 in upper left corner of top card. Make sure he sees full surface of
top card numbered 1. N o w lift left hand up towards you so he can-
not see face of top card and make this move apparently bringing
another surface up. With left thumb slide top card a little to right
as in dealing. Take hold of upper right corner of this card with
right thumb underneath and forefinger above. N o w turn this top
card outward as if opening a note book until thumb comes to top
and forefinger is underneath, then, still holding card, bring same
down behind the other card, not letting go until card is down entirely
behind the other.
The writing is now on underside of the top card and the figure
you just wrote on the underside of the lower card. Practice this
move as it is very simple and natural in making. \ clean surface is
now on top, and still holding left hand up, remark that this will be
side No. 2. Write the figure 2 in upper left corner and then lower
hand and show the full surface of card bearing figure 2. Once more
raise your hand and make exactly the same move as before, turning
top card outwards and bringing it down behind other. For a moment,
the writing will be seen by you, but only for a flash and not by spec-
 AXXEMAXX'S MEXTAL IUKC.AIN EFFECTS

tator as he sees nothing. A new surface will he before you on which

you mark figure 3 and then lower hand so that all may be seen fair.
Once more hand comes up and the move takes place againBUT
THIS TIME THERE IS A SLIGHT DIFFERENCE. AFTER TURN-
ING TOP CARD OUTWARD, INSTEAD OF BRINGING IT DOWN
BEHIND THE OTHER, BRING IT DOWN IN FRONT. To the spec-
tator, the move appears the same as always.
This brings back to the front the side you marked with the fig-
ure 1. NOW RIGHT HERE IS YOUR SUBTLE MOVE AND PRIN-
CIPLE. You mention that this side is number I, so you make a fig-
ure 1 RIGHT OVER TIIE FIGURE 1. IN SHORT, CHANGING
THE FIGURE ONE INTO A FIGURE 1 BY TIIE ADDING OF THE
TWO SHORT LINES. Drop your hand and show this side perfectly
blank numbered. Repeat that you have shown and numbered all
four sides and hand cards to spectator to hold. WHEN OPENED H E
FINDS TIIE NAME OR MESSAGE ON A NUMBEBEI) SIDE AND
ALL NUMBERS CHECK AND CARDS MAY HE KEPT BY THE
SPECTATOR, AS NOTHING CAN BE FOUND WRONG.

ANNEMANN'S MENTAL MASTERPIECE

In reading these instructions, remember that a correct and show-
man like presentation is essential. The means m a y b e simple, though
subtle, and, in this case, the information comes into the perform-
er's hands in the most natural and clean manner possible.
I contend that this is as direct an exhibition of apparent thought
reading as can be presented, that is, outside of a GENUINE demon-
stration, which at present is impossible.
First soak a playing card in cold water for about twenty minutes,
If the card is soft you can now peel or split the card in two. Now
use the back part of the card and thoroughly dry between two blot-
ters first, then place between the leaves of a heavy book.
Now take any card case.
Cut out with Rnor- I use a Rider Back Bicycle
pattern case and with a ra-
zor blade I cut out the de-
sign on the back of case as
in Fig. 2.
paste over Now take the split card
I thlfl out out I 1 1 1-1 1
S P L I T CA1D ith W h i c h y o u have dried and
carbon pepr. lightly paste a small piece
of g o o d g r a d e c a r b o n p a p e r
w h i c h is j u s t s l i g h t l y s m a l l -
 er than card. N o w paste this card over the cut out of the card case
and again allow to dry. If not right use an electric iron that is just
hot to iron even so that case looks like any other card case.
Have a two spot on the face of the pack, or you may lightly
paste a dull finish piece of paper over the face of a card. Pack is now
inserted in its case, the face side :;gainst prepared side of the box.
Tin's is the entire preparation, outside of having a piece of paper
and a short pencil. The pencil should be of hard lead and not longer
than three inches. These two principles combined make a person
bear much heavier in writing.
A spectator (generally it prominent party of your gathering) is
asked forward. The performer explains that he is about to attempt
something which heretofore has been considered impossible. -The
spectator is asked to merely THINK of any card in the pack of 53
playing cards and to change around as often as he wishes until sat-
isfied. When fhe spectator acknowledges this latter point, the per-
former picks up the paper and pencil and explains that because of
the fact that the spectator has changed his thoughts several times,
he bad better write the name of the thought of card on the paper and
then fold same and put in his own pocket. No one is to see it and
the real reason for same is to prevent further changes and to protect
performer. It is remarked that a catastrophe would certainly result
if the spectator were to again change his mind at the last moment.
As an afterthought, the deck is picked up, the paper placed on
same and all handed spectator. The performer turns his back while
the writing is clone. When the paper has been placed in pocket, the
performer takes the pencil and deck, telling the spectator to merely
keep thinking of the card intently. Opening the case, the deck is
removed, facing performer always, and the case dropped into pocket
or on table as desired. The pack is fanned and performer looks
through same, finally removing a card which he places face down
011 the spectator's outstretched hand. Walking away the performer
requests the spectator to name his card for the first time and then
hold up the card so ail can sec. IT IS THE CARD HE MERELY
THOUGHT OE!
Of course, if is obvious that when the pack was removed, the
face card bore the exact impression of what the spectator wrote and
therefore in the most simple and natural manner possible, the per-
former learned the name of the correct card to locate and proceed
with.
The lack of cumbersome material or apparatus, the cleanness
of the working, and the general effect of this trick make it one of the
most perfect of its kind ever conceived.
 A X X E M A X X ' S M E X T A L BARGA1X EFFECTS 7

THE N E W DOUBLE TELEPATHY ROUTINE

(Annemann)

I consider this an excellent club n u m b e r . In etl'eet both the spec-

tator and p e r f o r m e r succeed in reading each other's mind.
The p e r f o r m e r selects a spectator to aid him. He is asked to
think of a n y card in a deck while the p e r f o r m e r says he is doing
likewise. The spectator is told to stand at a distance, write the n a m e
of his thought of card on a small slip of p a p e r and pocket same. At
the same time the p e r f o r m e r also writes something on a slip of p a p e r
which he folds and tosses to the table in view.
Taking deck of cards the p e r f o r m e r f a n s through them and
picks out one card which he lays face down beside his paper. He
hands deck to spectator w h o likewise picks out any card he m a y
wish except his written one. N o w the p e r f o r m e r announces the
miracle in thought transference. He shows his card and asks spec-
tator to read what he wrote aloud. T H E PERFORMER HAS FOUND
T H E SPECTATOR'S T H O U G H T OF CARD! The spectator is now
asked to show his card and another spectator reads what the per-
f o r m e r wrote. T H E SPECTATOR HAS FOUND T I I E PERFORM-
E R ' S THOUGHT OF CARD!
The method is simple and makes use of two gimics or fekes
as the case m a y be. One is the very useful card case impression gimic
which is fully described in " T h e Mental Masterpiece." The second
is the well known Card F r o m Pockets indexes, but instead of con-
taining cards, they contain written slips of paper to correspond with
the cards. They all read, "I am thinking of the and then is
written the n a m e of a card. 52 of these are in the indexes in the
p e r f o r m e r ' s trouser pockets. Credit f o r the use of slips instead of
cards in pocket indexes belongs to A1 Baker. W i t h these in place
and the deck in card case at hand, you are read}'.
Spectator is asked to think of any card, and p e r f o r m e r picks up
a piece of paper f o r him to write it down. As he is about to hand
it to him, be picks up a deck as an afterthought, and has it used as
a rest f o r the writing which spectator then pockets. At the same time,
p e r f o r m e r , across room, also writes on a slip, but just pretends, folds
and drops it on table.
Taking back deck, p e r f o r m e r opens case and takes deck out
facing h i m nearly all the way, and getting a Hash of the n a m e of
selected card kicks the face card of deck back into case with t h u m b
and the case is laid aside. Running through the deck p e r f o r m e r n o w
picks a card, but of course gets the correct one. The deck is handed
spectator to take any card except his thought of one and lay deck
aside.
N o w for the climax! Performer shows the card he drew and
has spectator read his paper. Correct. N o w the performer has
spectator show his card and stands at this moment with both hands
in pockets. As it is named, performer asks that it be shown to
everyone, gestures with free hand which immediately leaves pocket,
while the other hand gets the correct slip. Picking up folded slip
from table with free hand it is apparently passed to the other and
given to some one to read, but nothing is passed and the spectator
reads the contents which always names the card the spectator drew.
This is really a knockout ell'ect and to m y knowledge the first
time that such a double test has been conceived, or even attempted.

GRETA ANNEMANN'S EYES OF THE UNKNOWN

EFFECT: The performer declares that through some unknown
power lie is able to read and visualize writings in the dark. Three
unprepared and blank cards are shown and numbered 1, 2 and 3.
They are handed to spectators who arc asked to write some piece of
personal data upon the blank side, such as a telephone number, ad-
dress, name, license number, etc. The cards are then laid with the
writing side down in a row upon a table or stand. Each parly knows
his or her card by the number. The lights are extinguished and im-
mediately, without a moment's wait, and in total darkness, the per-
former slowly calls out the number or contents on a card. At once
the lights are turned on, the writer acknowledges the correctness of
the information and if is verified. Once more in total darkness the
information on another card is slowly divulged as if through some
psychic source. The effect is repeated with the last and everything
may be examined and retained by the writers as there is nothing
in the way of trickery to be found. The cards are totally unprepared
and the writing is done with either pens or pencils of any kind.
There is also no source of light in any way. The secret is subtle
and most ingenious.
METHOD: The three blank cards are first shown and numbered
by the performer. In his pocket and quickly accessible is a dupli-
cate card which is numbered on both sides to resemble the writing
on the others. On one side of this is a figure 2 and on the other side
is a 3.
Card number 3 is handed out first and then number 2 card
follows. With card number 1, the performer steps to another party
 ANNEMAXX'S MENTAL BARGAIN EFFECTS 9

and asks that they whisper a number of three figures into his car.
These are written down in front of the party. Another person also
gives the performer three figures and these are written under the
first three 011 his way to a third person. But, instead of writing the
second row as given him, he actually writes figures that, when added
to the one above, will total!). The number that the third parly gives
is actually written down and this three figure number the p e r f o r m e r
remembers. The card is left with the parly with Ihe request to draw
a line, ;rdd the figures up and remember Ihe total. Thus the per-
f o r m e r will later know this total although the first and third rows
were written exactly as given. Performer, remembering the three
figures of last party, merely subtracts 1 f r o m the last figure and
places it before Ihe first, making a four figure tolal which is the
correct answer.

The three cards are placed, writing sides down, 011 the (able.
They arc arranged f r o m 1 to 3 in a row and performer explains that
in complete darkness we will exhibit a seemingly supernatural power.
The moment lights are out, performer starts slowly to gel the
various numbers in the addition tolal and arrange, them in their proper
order. As he is talking, Ibis supplies ;;mple time for the card in pock-
et to be brought out with Ihe "2" side upward. The "2" card 011 (able
is merely placed UNDER and squared up with the "1" card and the
f a k e card with "2" side up is placed in its stead. The number revealed,
lights are 011 and the p e r f o r m e r asks who wrote the information
divulged. When they do so, p e r f o r m e r lifts card "1" and verities it
aloud, but REALLY READS TO HIMSELF WHAT IS ON CARD "2",
AS BOTH ARE TOGETHER AS ONE CARD. It is returned to its
place and the lights are out again. This time during the slow revela-
tion, the "2" card is removed from under the "1" card; Ihe "3" card
placed under and squared with Ihe "2" card, and Ihe fake card is
merely turned over bringing the "3" side up and left in place. The
lights are on and the "2" card apparently verified aloud but the
writing on "3" remembered. Lastly, in the dark, the fake card is
replaced in pocket and the "3" card returned to its place. When the
lights come 011, everything may be examined, as there is nothing to
find wrong.

Tried once, the actual handling of these cards is very simple. I11
drawing rooms the cards may be placed on the floor in full view and
this f u r t h e r prevents any possible mishap because of the cards being
so f a r below the line of vision.
10 A X X E M A X X ' S M E X T A L BARGAIN' EFFECTS

30th CENTURY TELEVISION

(Hewitt and Annemann)

A spectator is asked to think of something he would like to draw.

He is handed a single blank card and pencil f o r the sketch. The
p a r t y takes care that no one sees w h a t he d r a w s and then concen-
trates upon it. T h e p e r f o r m e r takes a duplicate blank card and also
d r a w s something upon it. The spectator shows his card, the per-
f o r m e r shows his, and BOTH ARE ALIKE.
T h e m e t h o d is extremely subtle, and in our opinion a great
i m p r o v e m e n t over the method first introduced years ago by J a r d i n e
Ellis.
T h e entire working of the feat lies in a small packet of blank
business size cards. T a k e about ten of these and glue together in a
block. W i t h a razor blade cut out the center of this block in which
is placed a small m i r r o r
taken f r o m a lady's vanity
or powder case. W e advise
that the m i r r o r be as large
as possible. T h e block of
glued cards should be just
as thick as the m i r r o r . N o w
on lop and b o t t o m of this
block which contains the
m i r r o r , glue another card.
The card on top is cut out slightly smaller than the hole in the block
and this keeps the m i r r o r in place. You now have about ten cards in
a packet which contains a mirror. Place fifteen or twenty loose cards
on top and you are ready.
Hand the spectator a card f r o m top of packet f o r his drawing.
W h e n finished p e r f o r m e r turns towards h i m and asks him to hold
the drawing in front of himself with both hands. The spectator
invariably holds the card about a foot below his own line of vision.
P e r f o r m e r walks towards spectator, at the same time holding his
pack of cards with the m i r r o r on top with his right first and second
fingers at about the center of the nearest end. This leaves the t h u m b
f r e e and at the same time holds the packet nearly perpendicular
with the floor, the m i r r o r side being towards p e r f o r m e r .
The p e r f o r m e r steps to within a r m ' s length of the spectator
whose own a r m s are outstretched, and the p e r f o r m e r ' s h a n d s grasp
the wrists of the spectator and raise them level with the spectator's
eyes. At the same time he says, "No, not so lowup higher to about
 ANNEMAN'N'S .MENTAL BA1U1AIN EFFECTS 11

level of your eyes. Look at it and concentrate upon what it repre-

sents." This completely covers the interruption. Now the perform-
er's right hand grasps the spectator's left between the thumb and
forefinger, the packet between first and second fingers naturally com-
ing to a right angle back of spectator's card, that is, your back and
his front. In moving the arms upward the packet is shifted slightly
to bring into focus his picture and when the spectator's arms are up,
the card he is holding comes directly between his eyes and yours. At
this time you actually glance at your packet and get a Hash of the
drawing.
Immediately you step back, take another blank card f r o m your
packet which you pocket and then duplicate the drawing.
W e think this the most subtle and practical method extant. It
leaves the p e r f o r m e r with nothing in his hands at the finish and
nothing looks more innocent than a few blank cards f r o m which two
arc taken. The move for getting the reflection is natural and has
only to be tried once.

COINCIDENCE
(Hewitt)

The performer shows two decks of cards, e;;ch of which he has

a spectator shuflle. The spectator takes one deck and with it still
face down on his hand thinks of any one card in the deck. He is then
told to run through the deck, find the card he is thinking of, bring it
to the face of the deck, square deck up and look intently at the card.
The performer asks him to think first of the color, then the suit, and
lastly the. value. Running through his own deck, the p e r f o r m e r
picks one out and holds it up with the back to the audience. The
spectator is asked to now show his thought of card for the lirst lime.
The performer then shows his AND IT IS TIIE SAME!
The efl'ecl is very startling and makes a good club ed'ecl to be
sandwiched in which always is possible when a spectator is up to
help out in something else. Side effects usually create more comment
thiHi regular program numbers.
In the performer's deck is one faked card, preferably the Joker.
On the face of same in the upper index corner has ben glued down
an inch square of shiny tin foil. It is used as a reflector and although
it is not practical for writing it is perfect for close work with cards
as will be seen.
 At the start, the performer allows spectator to shuffle this deck
first and as the cards are face down it is perfectly safe. When spec-
tator shuffles the second deck performer steps hack, has him think
of a card and then look for it as described above. W e now reach
the point where spectator has chosen card at face of his squared up
pack, and is holding same in front of him with both hands. The
performer fans his deck and starts looking. In fanning same he
gets the fake card about twenty f r o m the top or left of fan, and m a k e s '
f a n wide enough at this point to bring out most of the reflector.
Spectator is asked to think of a color, and performer looks at
his cards and nods head, then spectator is asked to think of the suit.
P e r f o r m e r looks again, and then approaches the spectator holding
the f a n still between first finger and thumb of right hand. Telling
spectator to hold the cards directly before his eyes and concentrate
upon the suit, p e r f o r m e r s right hand (three loose fingers) grasp spec-
tator's left wristand performer's left hand pushes up spectator's
right hand until the cards are straight between eyes of p e r f o r m e r and
spectator. It is a simple gesture as if to raise the cards so that spec-
tator can look directly at them. However, the position of per-
former's right hand and fan is such that the moment the deck is
between the eyes of the two, performer can glance at his fan and the
reflector will show him the index corner of the card spectator is
looking at. The reflector won't be more than an inch away f r o m
this card. That is all that is needed.
Performer steps hack and asks spectator to now think of the
value. Once more he looks and then picks out the card. The spec-
tator then shows his and the performer reveals his to be the same.
People Avill swear you were never near the assistant, the move is so
barefaced and innocent appearing. The effect allows of good show-
manship and can be built into a veritable stunner.

PENETRATING VISION
( J . G. T h o m p s o n )

The performer has a packet of about 15 blank cards about call-

ing card size. They arc handed spectator who takes any one of
them and secretly writes a quotation on one side. Holding it message
side down he puis it info Ihe center of the packet which is kept tightly
squared. The performer takes out his pocket handkerchief or may
borrow one, and the packet is wrapped up in center of same. Hold-
ing the wrapped package to his forehead the p e r f o r m e r answers the
 ANNEMANN'S MEXTAL BARGAIN' EFFECTS 13

written question. The package is removed f r o m forehead, cards

taken f r o m within, spread out and the query found near center.
Everything being unprepared, there is a free examination.

The real subtlety is a variation of an old coin move in a hand-

kerchief which I shall try to put clearly on paper. There is a very
slight preparation of the cards. One is a trifle shorter than the
others making a short card clicker that can be found in a riflle of
the ends as in an ordinary deck of cards.
The short card is 011 the top of the pile at the start when one is
taken out and written upon. Performer holds the packet in left
hand, and has the written card returned face down 011 top and the
spectator then cuts it to about center. The performer squares cards
perfectly with right finger at front end and thumb at rear asking
spectator to throw a handkerchief over his hands. As handkerchief
covers hands f o r a second, right thumb riffles up and when it hits
short card cuts packet at this point which brings message to bottom.
Right hand comes out f r o m under at once and adjusts handkerchief
diagonally over palm of left hand, one corner being upon arm and
center of hank comes just about to the inside end of the packet.
Right thumb and forefinger now picks up this inner end of packet
through left hank and lifts so it is hanging vertical to the floor. The
left thumb and forefinger, still underneath regrasp the upper end of
packet, thumb in front and forefinger in back BUT DON'T L E T GO
W I T H RIGHT THUMB AND FINGER UNTIL AFTER TIIE L E F T
TAKE HOLD! Therefore the end of packet is now being held
through TWO THICKNESSES OF CLOTH ON BO TH SIDES.

The right hand moves outward and grasps the front hanging
corner (diagonally opposite the corner laying up on arm) and lifts
it back to show the packet really at center of handkerchief. In bring-
ing this corner back it is brought way back onto arm, and as soon
as packet is shown, both corners together arc thrown off arm down
over packet, and the right fingers are holding the packet in center
of hank with all corners down. ACTUALLY T H E PACKET IS
ON BACK OF T H E HANGING HANDKERCHIEF! Right thumb
and forefinger now grasp bundle at side while the left hand proceeds
to twist up the hanging corners a little. As this is done, right hand
brings up package towards forehead and the message is read on the
way past.
After answering, packet still held with right fingers is brought
to about a fool in front of face and left hand apparently reaches up
under hank and lakes out packet bill this is the old dodge of taking
it really f r o m the hack. The difference can't be told. The packet is
f a n n e d through face down a f e w cards at a time, and as these are
shown they are put on bottom. About half way through, p e r f o r m e r
turns the packet over and starts through again. This time the mes-
sage card is found near the center of packet and is given to the writer.

The moves sound h a r d e r than they really are, but the effect
is worth all of the practice that is given it and it is practically
impromptu.

THE IMPROMPTU MIND READER

A clever stunt. P e r f o r m e r takes a small piece of paper. In

the center of the paper he draws an elongated circle and hands
p a p e r to spectator with a request to think of the n a m e of some
p a r t y who is often in their mind, then to write their n a m e inside
the circle. The paper is refolded and handed back to p e r f o r m e r
who immediately tears it into small pieces then dropped into an ash
tray and lighted with a match. After the paper has all burned to
ash, p e r f o r m e r takes a piecc of ash between his fingers and holding
to his forehead slowly S P E L L S out the n a m e that was written on
the paper.

F o r this clever effect all that is required is a small piece of p a p e r

about 3VL> by 3 inches. Fold it once the long way, and then once the
other way. Open and d r a w your long circle lengthwise on the
inside of the slip so that the circle comes exactly in the center of
the paper.

After n a m e is written on paper and paper folded twice, per-

f o r m e r holds the paper in right hand, t h u m b and first finger holding
part of paper that contains the circle. Now with the left fingers
tear through the center of the folded paper. Now place the pieces
in the left hand on top of the pieces in the right hand nearest the
spectator. Now turn paper and again tear through the center. Again
these pieces are placed on top of pieces in right and still nearest the
spectator. Now right t h u m b pulls back the small corner piece and at
the same time the other pieces are dropped into an ask tray. Now
use a little misdirection in asking some one to light the small pieces
with a m a t c h and meanwhile the small corner piece of p a p e r in
right hand is opened out with the t h u m b of that hand and n a m e read
and a f t e r a little showmanship, p e r f o r m e r spells out the name.
 ANNEMAXX'S MENTAL BARGAIN EFFECTS 15

G E T I T !
(Annemann)

In this efl'ecl, the p e r f o r m e r illustrates that even darkness can-

not impede his powers.
In a totally darkened r o o m , three spectators each lake the deck
of cards in their own hands, shuffle well, and remove any one card
that they please, putting il safely in their pocket. The lights are
turned on and the p e r f o r m e r reveals the identity of each card thus
selected, everything being examined thoroughly.
This is a nice n u m b e r to be used in conjunction with other
dark room and seance stunts. The method is very simple but it
ingeniously takes advantage of the loss of sight on the part of the
spectators. I can only ask that you try il at least once.
An ordinary deck is used and three single kind force decks
which we will call one, two and three. The three different force cards
have been removed f r o m flic ordinary deck before starting. N u m b e r
one is in p e r f o r m e r ' s left coat p o c k e t n u m b e r two is in left hip
pocketand three is in right hip pocket. The right coal pocket is
empty. After several elfeels will] the ordinary deck, p e r f o r m e r picks
three people silting apart f r o m each oilier and says that they shall
be used f o r Ihe lest. Holding the deck in right hand p e r f o r m e r has
the lights turned out. Immediately he walks to first person, and
left hand has taken deck (1) f r o m left coal pocket and hands il to
spectator with request f o r shuffle and selection of one card. The right
h a n d drops ordinary deck into right coat pocket and takes deck (15)
f r o m right hip pocket, ' f a k i n g deck (1) back in left hand, p e r f o r m e r
passes deck (,'$) in right hand to second party fo repeal procedure.
The left hand returns deck (1) to left coal pocket and removes
deck (2) f r o m Jeff hip pocket. Taking deck (3) back in right hand
the p e r f o r m e r passes on and hands deck (2) to last spectator with
left hand while the rigid hand returns deck (15) to right hi]) pocket
and takes (he ordinary deck out of right coal pocket. Now taking
the deck (2) f r o m lasl parly with left hand il is dropped inlo left hip
pocket and p e r f o r m e r calls for lights dropping ordinary deck onto
table as lights come on.

Impossible as it m a y seem to the audience, the p e r f o r m e r k n o w s

all three selected cards to be revealed as he sees lit, and the deck a n d
cards m a y b e examined as il is now a full deck of 52 cards and there
is nothing w r o n g to be found.
Just one trial will convince the most skeptical p e r f o r m e r that
here is a real dark room mystery (hat will fool every lime.
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